38 Have You Made an October Lease? Moving from one rented apart- ment to another is something like looking for the end of a circle. I f the last house was poor! y managed the next one may be. When you purchase an apartment at 1172 Park Avenue you become part of the managemen t . . . And things aredone the way you direct. If undesirable people are in the house you are leaving, what assur- ance have you they will not be in the next one? At 1172 Park Ave- nue it is impossible for undesira- bles to become a problem; because you can study a list of the owners before you purchase . . . And after that, as an owner you can pick and choose your neighbors. The advantages of apartment ownership are certainly very much worth your consider a tion. I f you are in terested we shall be glad to show you over the building, to supply you with plans and with a list of those who have purchased apartmen ts. An agent, who is on the prem- ises, will offer every convenience to facilitate YOllr investigation. 117 2 PARK AVENUE Corner of 93rd Street 100% Cooperative Ownership TYPICAL PRICES 11 Rooms-5 Baths $22,000 to $41,000 12 Rooms-5 Baths $34,000 to $45,000 ALSO Corner Maisonette Provision for Electric refrigeration in all apartments At the Highest Point on Park Avenue Light and Air on all sides A broad view sweeps from East River to Central Park Easily accessible from W 211 Street or Mid town Districts Ready this summer An agent's office has been established on the premises where elevators are in commission for the easy inspection of apartments. The office is open every day, including Sunday. Selling and Managing Agent DDuilas L.Elliman Ei La. 15 EAST 49TH STREET PLAZA 9200 Plans by ROSARIO CANDELA Builder, MICHAEL E. PATERNO THE NEW YORKER , l' G\? HEÄ " TR E J - ^ ' . : ,) \1 I \., . . Ì. Q $i1 o: rj """'I:' ' , 1 'HE \' \ ,'- _ r . . .. ::" : .... '_ )J,. . , 3110.. (0. --- . f_ , l' # - - . .. . Some Jingoism, Some Gigolos-A Little Pettishness and a Pollyandrew " M Y COUNTRY," by Wil- liam ]. Perlman, at Chan- in's 46th Street Theatre, is a folk play which I don't believe many readers of THE NEW YORKER will care to see. Filled with the milder forms of miscegenation and giving in miscegenation, its thesis is, "So long as the boy and girl love each other what do differences of race and creed mat- ter?)) Its chief argument seems to be that family parties are so much more fun if they include a lot of low comedy characters, and that marriage is comic supplement stuff at best. I must admit that the most cogent argu- ll1ent Mr. Van Dorn, the proud father of the piece, can put up against the financially advantageous alliances of his children is that he doesn't want them to marry into "the hoi polloi." It is a play which beats loudly on the table, and roars for tolerance on subjects on which everybody in the audience is agreed that tolerance is the only course. This is able to create, in the sort of audience it attracts, a feel- ing that it's been thinking hard and come to a virtuous conclusion. M y pleasantest moments in the the- atre during the last two weeks were spent at "Loose Ankles," a com- edy by Sam Janney, at the Biltmore Theatre. "Loose Ankles" rather abuses the license of its title, however, in wabbling between being very funny and being very dull. Part of it pur- ports to be drawing-room comedy and part is rough stuff. I'm afraid I think that sound advice for most American dramatists is, "Come out of the draw- . )) lng room. When "Loose Ankles" is itself (by "Is Zat So?" out of "Cradle Snatch- ers") it is thoroughly amusing. When it invades the Lonsdale regions it is awful. In it Osgood Perkins has trium- phantly emerged from the clergy, to which he has been called uninterrupt- edly for several theatrical seasons, as one of three young gentlemen who have taken literally the Bourbon sug- gestion to the hungry that they eat cake. The private life of the profes- sional gigolo is really new theatrical ground, as the boys in "Cradle Snatch- ers" had never lost their amateur standing, and the scenes between Andy Barton (Mr. Perkins) and Terry Frances (Charles D. Brown) are con- vulsing and perf ectl y played. To turn to the other side of the picture, the play begins with a will, not a right good will but the kind of will that is made only by a dramatist who has to have the plot for three acts. Each codicil a scene as Mr. Nevin might have set to music. One dis- tribution of the estate is contingent on the marriage of the heroine, who doesn't want to marry and, by some process of ratiocination, concludes that to avoid doing so she must be com- promised. Well, you may know how young girls feel about those things, but I was a little puzzled. The first scene ends with her telephoning an ad vertisement to the paper. The gigolos have a roommate, Gzl Barry, who, as you may have guessed, is the hero. Mr. Janney has felt called upon to show how necessity com- pelled him to follow the loose-ankled footsteps of his associates at great length, and when he does and answers the advertisement there's a painful in- terlude indicating the birth of a fine, understanding love between them. Mr. Janney should realize that by now years of theatre-going have convinced audiences that heroes and heroines are fine and pure and without venal mo- tives but that there's no sense in an author's getting morbid about it. A N 0 THE R playwright who should write ((Come out of the drawing room" in his hat is Myron C. Fagan, whose comedy, "The Little Spitfire," is playing at the Cort. "The Little Spitfire" is about a chorus girl from the Bronx who mar- ries into a family so tony that you can hardly believe it. Not only are they tony themselves but they're sur- rounded by tony friends who are No